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Full text of "Pennsylvania Museum Bulletin. Number 60, January 1918"

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JANUARY, 1918 



Board of Trustees 

The Governor of the State, Ex-Of. The Mayor 

Mrs. Rudolph Blankbnburg John Story Jenks 

Charles Bond 
James Butter worth 
John G. Carruth 
Mrs. Henry S. Grove 
John Gribbel 
Charles H. Harding 
Thomas Skelton Harrison 

Gustav KetTerer 
John H. McFadden 
John D. McIlhenny 
Mrs. Arthur V. Meigs 
John W. Pepper 
Eli Kirk Price 

of the City, Ex-Of. 
Walter H. Rossmassler 
Theodore C. Search 
Edgar V. Seeler 
Mrs. Joseph P. Sinnott 
Edward T. Stotesbusy 
James F. Sullivan 
William Wood 




JOHN G. CARRUTH, / *<*■*<***»* 


LESLIE W. MILLER, Secretary, Principal of the School 

LANGDON WARNER, Director of the Museum 

HAMILTON BELL, Acting Director of the Museum 


For January, Nineteen Hundred and Eighteen 


Announcement ---------_„ i 

A Chinese Carpet. Lent by a Friend of the Museum - 3 

Five Fragments of Gothic Stone Carving 8 

Notes ----------- __n 

School Notes ---------._. 1 j 

Accessions --------- _-„]4 






At the request and under agreement of cooperation with the Smithsonian 
Institution, the new Director of the Pennsylvania Museum and School of Indus- 
trial Art, Mr. Langdon Warner, left for Japan on December 7, 1917, on leave of 
absence for one year; the primary object of the arrangement being the taking 
advantage of certain opportunities for securing objects of art which were thought 
too good to lose. In order to facilitate the plans made by Mr. Warner, his 
friend Mr. Hamilton Bell consented to assume the responsibilities of Director 
pro tern., during Mr. Warner's absence. He entered upon his functions on Janu- 
ary 1st, having arrived in this city some days before that date. 

Mr. Hamilton Bell was born in London, England, and educated at private 
schools and by tutors. At the age of fifteen he entered the Slade School of Art 
in London and subsequently worked in the studio of his uncle, Sir Edward 
Poynter, President of the Royal Academy, on several decorative schemes. At 
this time, he had the benefit of the advice and guidance of such noted artists 
as William Morris, Sir Edward Burne Jones, Lord Leighton, Walter Crane and 
others. He exhibited pictures at the Royal Academy, the Grosvenor Gallery 
and other London exhibitions. 

It was in 1885 that he first came to the United States and decided to settle 
here. In 1887 he began the practice of architect, landscape and formal gardening 
and the decorative arts in New York. At this period of his career he also under- 
took to design scenery and costumes for Sir Henry Irving, Augustm Daly, 
Lawrence Barrett, Taber and Marlowe and others. 

He was an earlv member of the Architectural League, became a member of 
its council, its secretary, and was chairman of various committees. He was also 
one of the founders and first secretary of the Fine Arts Federation and of the 
Municipal Art Society of New York. He managed several art exhibitions most 
successfully; and was appointed Art Director when the New Theater was 
founded. He held that position until the theater finally closed. During that 
period he did the designing and superintending of every production given at that 
theater. It was he who managed the opening ceremonies of the New Public 

Hamilton Bell 
Acting Director of the Museum 


Library in New York as well as those of the Cleveland Museum of Art, where he 
arranged and catalogued the Inaugural Loan Collection of 1916. 

Mr. Bell has traveled extensively in Europe, including Russia, as well as in 
the Far East. Also in this country, he has visited and studied the principal 
museums and has familiarized himself with their collections. 

His training as an architect should prove especially valuable at this time 
when the question of erecting new art buildings and galleries is under discussion 
in this city and many problems structural and of the heating and especially of 
the lighting of museum buildings and picture galleries must be earnestly studied 
with a view to producing the best results. 

One of the most serious disadvantages under which a group of people about 
to erect a museum building labor is that there is hardly any architect who 
has built a museum. If there is, he seldom is employed again because he is 
judged by his mistakes rather than by his achievements. This, of course, is 
an error of judgment. Practice makes perfect. The architect who has made a 
mistake is not likely to repeat it. He probably has studied that particular 
point diligently ever since and one stands a far better chance to work out the 
ideal museum with a man who has had previous experience of the peculiar 
necessities of museum work than with a new man whose head is full of daring 
experiments which he is eager to try at your expense. There are very few 
museums that are soul-satisfying to the individual who has to work in them. 
That individual usually is the least thought of, general effects being usually 
the paramount requisite of the committees in charge. 

It seems to me, therefore, that a director who also is architect and can 
authoritatively assert his needs and the practical possibility of meeting them, 
must be invaluable as an addition to any building committee. 

This and much more, as time goes on, we are discovering Mr. Bell to be — 
and the Museum authorities, therefore, are to be congratulated in having, in 
their hour of need, secured the presence at the helm of so valuable a Director. 

S. Y. S. 


Fortunately for the student of Chinese Art, we can be reasonably certain 
that no carpets woven in that country prior to the great Ming Dynasty (1368 to 
1643 A. D.) are likely to be presented for our consideration. Whether or no 
the few pieces preserved in the Japanese Imperial Treasury, the Shosoin of 
Todaiji in Nara, are of Chinese origin and of the early date, posterior to which 
no objects are said to have been added to the treasure, is for us a matter of 
small importance. 

Those highly prized textiles are never likely to leave their far-eastern home 
and none like them have been or are ever likely to be, found elsewhere. 

Consequently we are safe in saying that no rugs earlier than Ming are 
extant and indeed but few that can safely be ascribed to that dynasty. 


The style of this period, design, colouring and even the material and weave 
are very clearly marked; one authority states that cotton was never used for 
the warp threads in Ming times, but only wool. In this era, too, seems to have 
originated the fashion of weaving gold and silver threads into the backgrounds 
of carpets and it is said that the method spread from China to Persia, where it 
appears in the famous so-called " Polish" carpets, with metal grounds. 

There seems to be no method of ascertaining how far into the subsequent 
Ts'ing Dynasty the Ming manner prevailed. It could not have been very long 
however, since in 1662 the great Emperor K'ang Hsi came to the throne and to 
his time are ascribed the finest existing specimens of Chinese carpets. This is 
more than probably true, since in other arts his reign shows the high water-mark 
of achievement, at least in the esteem of the Western connoisseur. The strength 
and severity of Ming was still dominant and the love for mere beauty had not 
yet weakened it to effeminacy, as it did in the reign of his grandson Ch'en Lung 
(1736 to 1796 A. D.) 

The K'ang Hsi weavers chose their materials and colours and wove them 
with such care, that technically their rugs are the best that have come to us 
from China. 

The Ch'ien Lung carpets are those which show a lovely variety of peach 
colour and rose and in every way recall the extravagant revel in colour of the 
porcelains of the same period. Nevertheless they show us also a noble reserve 
in the simple and often very severe rugs of blue and white alone. 

After this emperor's death rug weaving, with the other arts, fell into decay 
and very few carpets of the end of the eighteenth and the nineteenth centuries 
have any great artistic value. 

According to Mr. Frederick Moore, who has devoted many years to the 
study of the subject, in China, the weaving of fine rugs was done in the interior, 
away from the treaty ports; they were never woven in the south. The weavers 
were almost exclusively Mohammedans of Kansu, Shansi and Shensi, the 
provinces that border Mongolia. K'ang Hsi and Ch'ien Lung, he says, seem 
to have brought weavers as well as artists from beyond the western borders of 
their empire, which later rulers did not. 

The inspiration of the technical side of the art having come from the mother- 
land of carpets, Persia, it is interesting to note that, in this as in so many other 
cases, the Chinese should have absorbed the invader and Sinified him. 

Much, perhaps too much, stress has been laid on the inner meaning of the 
patterns of Persian carpets and while it is no doubt true that the tree of life and 
other ancient symbols may be traced in them, by a stretch of the imagination, 
yet it seems to me in the highest degree doubtful that these symbols were used 
with definite intent by the weavers of Persian rugs. Their object was a beautiful 
pattern. With the Chinese this is not so. What better example can we desire 
than the carpet before us? There is no attempt at a pattern. Except in the 
border, no design even, all is subjected to the purpose of including as many 
symbolic objects to make the result of happy augury. 

Carpets were used in China chiefly as coverings for the Kong, which is a 
sort of divan, often fifteen to twenty feet long, built into the house and often 
with a stove contrived under it; on it the inmates sit and sleep. Only 


in temples and palaces are carpets used on the floors and in both of these it is 
customary to remove the shoes. 

Smaller rugs were made for saddle cloths and bags; the latter are often 
brought to this country with the pockets, of another material, still sewn inside 
either end; when filled they were flung over the saddle-bow or carried by the 
pedestrian traveller over his shoulders ; on arriving at an inn they were emptied 
and spread on the Kong in his room to serve as his bed. Squares were also made 
for priests to kneel on during the long drawn out services in the temples. 

Carpets were also used as door curtains, particularly in temples; those 
covered with religious symbols must have been made for such a use. The most 
curious use to which carpets were ever put and one which seems peculiar to 
China, though it may have also prevailed in ancient Persia and Babylonia, is 
that of pillar coverings. A common decoration of columns in Chinese temples 
and palaces is an enormous dragon twined round the post; these are usually 
carved, but many carpets exist which were woven for this purpose, mostly with 
the dragon design, but often with other religious emblems and even with pictures 
of the divinities to whom the temple was dedicated. 

Chinese carpets, even fine specimens, are often found cut into pieces, this 
is the result of the splitting up of a family, when all the inherited possessions 
are divided with meticulous exactitude. 

This carpet is 12 feet long by 5 feet 10 inches wide, woven of fine silky wool 
on a cotton warp. The ground colour is a gray fawn on which the designs 
appear in a paler shade of the same, which was once almost cream-white and in 
two tones of indigo blue, no other colour being used. 

The border is a swastika-fret in the paler blue, edged with cream colour, on 
a dark blue ground ; the skill with which this is planned to fill the space, starting 
correctly from every corner is notable ; such care is always the mark of a first- 
class piece of work. This fret, which used to be known as the Greek meander, 
is now recognized as of common occurrence in the arts of many lands. By 
Chinese archaeologists it is called the cloud and thunder pattern. When it is 
based or centred on the swastika (also an universal pattern) it is differentiated 
by that name. In China the swastika is called wan and is used as a symbol for 
ten thousand; this like myriad, thousand or even hundred merely denotes a 
large, uncounted, number. 

The design of this carpet is that known to Chinese scholars as "The hundred 
antiques, " but even here, where more of them than usual appear, there are no 
more than seventy-nine, scattered assymetrically over the field, some of them 
being repeated more than once, though not slavishly. 

As has been suggested, the motives of Chinese decorative art are almost 
entirely symbolic. The oldest of these are the Pa Kua or eight Trigrams, groups 
of three bars of varying length and arrangement, which stand for the forces of 
nature. There are eight Buddhist symbols and eight Taoist, eight musical 
instruments, eight precious objects, seven gems, five blessings, four emblems of 
the elegant accomplishments of the scholar, besides many others, single and in 
groups; any selection from these seems to be known as the hundred antiques. 

A favorite use of them is to combine two or more, so that their names form 
a rebus, the language lending itself readily to this form of play upon words, 





since one sound has many meanings, the difference between these being con- 
veyed in speaking by the tones. Dr. B. Laufer, in "Jade, " has shown that the 
use of the rebus was highly popular in the T'ang era (618 to 960 A. D.). It 
may have been in use earlier, since even the earliest examples of Chinese art 
known to us are full of symbolism. 

Among those in this carpet some are readily to be read, others are more 
obscure, this will appear in the course of the description. Of the emblems I 
have enumerated, the Trigrams and the eight musical instruments seem to be 
absent, as are most of the Buddhist and all the Taoist attributes of the eight 
immortals, the eight precious objects and the seven gems. 

The gong, hanging from its frame, may stand for the bell, the two fish, 
shown here in a bowl, the canopy or umbrella and one or others of the vases, 
may all have a Buddhist significance, though I do not feel very sure of this. 
The fish certainly refer also to a propitious marriage, Yi fish meaning also 

All the symbols of the four elegant accomplishments of a scholar are here ; 
the board for playing go with the two round boxes or bowls for holding the 
black and white men, the two scrolls of painting, the books of writing and the 
Ch'in or Chinese harp, partly withdrawn from its bag. These and a few other 
objects are tied with fillets or ribbons. This addition is said to represent the 
divine emanation from any person or thing peculiarly sacred, somewhat as does 
an aureole. It is, as is well known, commonly throughout Asia attached to any 
sacred object. Knots have also a mystic or sacred significance. 

The coral branches in a bowl are a badge of rank and imperial favor as is 
the jui or cloud headed sceptre. The writing table with its furnishings is 
another allusion to the scholarship of the owner of the rug, as are the incense 
burners and jars containing the implements used with them. The mirror in its 
stand, also repeated more than once, is of good omen, since it is believed to ward 
off evil spirits. 

The greater number of the objects on the carpet are of auspicious omen. 
The vats ju are a rebus for happiness ju. A table screen bears the character 
wan, in an ornamental form, this as has been said means ten thousand, signify- 
ing, in this place, happiness without end. The two peaches symbolize longevity 
and sometimes conjugal felicity; the two cups on trays probably also refer to 
the marriage ceremony; the pomegranate Kiat is a rebus for luck, Kiat; the 
Finger citron or Buddha's hand, a sort of orange, Kek implies auspicious, Kek. 
These three fruits, San Kuo, Peach, Pomegranate and Finger citron, together, 
mean Abundance of Years, Sons and Happiness. 

The profusion of flowers is also a good omen. Altogether we may assume 
this rug to have been a gift to a scholar of high rank who was, or was about to be, 
happily married. 

The owner of this carpet, who has far greater knowledge of the art of the 
Far East than the writer of this paper can pretend to, states that it was called 
Ch'ien Lung, but thinks it may be earlier. In this opinion I agree. 

S H. B. 



Mr. John D. Mcllhenny has added to the collection of Gothic wood-carvings, 
which he has lent to the Museum, some specimens in stone, which though not so 
large and important as some of the wooden pieces, are yet of great interest. 

A pair of capitals for pilasters, in white limestone, bear all the marks of 
belonging to the middle of the Twelfth Century. The acanthoid type of leafage, 
with which they are ornamented, immediately suggests that found, in the 
sculptures of the sixth and succeeding centuries, throughout the nearer East 
and Egypt. Examples from the monastery of St. Jeremias at Sakkara may be 
seen in the Metropolitan Museum of Art, New York. 

It must not be forgotten that at this period, from 1 125 to 1 135, the Kingdom 


French XII Century 

of the Franks, as the Saracens called it, extended from Mesopotamia to Egypt 
and that all Syria was in the hands of the Christians. 

The abbey of St. Denis was built by Suger in 1 137 to 1 141 and the cathedral 
of Sens probably a very little later. The foliage of some of the capitals of these 
two buildings bears a striking resemblance to that of our fragments and, as has 
been noted by French archaeologists, shows this curious departure from the 
sequence of the Gothic tradition towards the debased classic forms which are 
so characteristic of what is known as Coptic art. 

When we consider the enormous numbers, for those days, who poured out 
of Europe into the East (300,000 went in the first crusade alone), it is easy to 
comprehend the influence on life and the arts which they brought back with 
them from lands where the civilization was so much higher than that they had 
left at home. 

There are, besides these, three corbels of later and slightly different periods; 
of these the finest is carved, from a warm coloured stone, into the figure of a 


monster; a sort of wingless griffin, bridled, with an eagle's beak on an eared 
animal head, the body and tail of a lion, and the hind feet of a bird of prey 
In his right forefoot, which seems to be more animal, indeed rather handlike' 

French Figment XIV Century 

he holds a ball, perhaps a precious jewel. This griffin motive too, came from 

the East to Western Europe and is found there, in all forms of art, for some 

centuries before that in which this beast was carved; probably the fourteenth. 

The second corbel bears the figure of a man, a peasant or possibly a pilgrim, 



wearing a capuchon or hood and carrying a knobbed staff in his hand ; he glances 
behind him in some alarm, which may be accounted for, if the waved line to the 
right of the corbel represents an advancing flood. It is possible that this frag- 
ment, instead of being a corbel, may be one of the voussoirs of an arched entrance 

French XIV Century 

and our poor pilgrim may have sat down in the water, which would equally 
explain his disturbed expression. 

Close to his hand is a vine leaf, on an entirely different and far larger scale, 
which does not explain itself unless it be part of some adjoining ornament the 
rest of which was on another stone. 

Another carving of about the same period represents a lion, well and natu- 


ralistically portrayed, who seems to be gripping in his jaws the leg of another, 
whether torn from the body or no it is not easy to discover. Possibly the whole 
of _ the other combatant has been broken away. The one left to us is a very 
spirited work of sculpture. 

The fragments here described have been placed on exhibition in the alcove 
devoted to Mr. Mcllhenny's Gothic wood carvings in the Section of Period 

H. B. 


Bequest.— Under the will of the late Mrs. Mary E. Taylor, and to be known 
as the George W. B. Taylor Collection, the Museum has received a series of 
fourteen works of art from China and Japan — bronzes, enamel and cloisonne, 
teakwood and boxwood. The bequest is accompanied with the condition that the 
little collection shall be kept together and placed in a suitable part of the build- 
ing in which the objects of art belonging to the said Museum may be displayed 
and to form a collection to be known as the George W. B. Taylor Collection, 
and properly labeled so that they may be so identified. 

To properly maintain and to add to the collection from time to time, Mrs. 
Taylor also bequeathed to the Trustees of said corporation the sum of $10,000 
to be kept in trust and held separately from other of their funds, and to be 
known as the George W. B. Taylor Fund and to be used as recited above. 


Since the publications of the last number of the Bulletin, the Evening 
and Saturday classes of the School have opened. 

It is of interest to note that, while the Evening Public Schools report a 
falling off in the last thirty months of sixty-four per cent, the diminution here 
for three months of this season is only eighteen per cent over last season when 
there was an especially large attendance. 

The Saturday class shows a distinct gain in numbers, and the section 
devoted to the normal work was closed immediately to further registration. 

Members of the advanced section of the Interior Decoration class are sub- 
mitting designs in the monthly competitions issued by the Beaux Arts Institute 
of Design in New York. They are now working on the fourth problem of the 
season. The competition is national, and Carroll Lambert is leading in points 
for the prize and medal so far, having scored five and one-half points in three 
problems. Last month he received the First Medal award for his tapestry design 
of the Three Fates. This award is given only rarely, and it counts three points. 
All the designs so far submitted by our pupils have received mentions, the total 


score for the class being nineteen and one-half points. In the last competition 
there were about twenty-five drawings submitted, representing work from 
Boston, New York, Philadelphia, Pittsburgh and Chicago. Mr. Copeland has 
been made a member of the Jury of Awards in the Mural Painting problems. 

These students have regularly studied from the collections at the Museum 
and much of their success is due to the research, which they have been able to 
make there. The Beaux Arts Institute of Design was established primarily 
to encourage the study of the art which has been produced in the forms life 
requires. The new generation must get inspiration, or at least guidance, from its 

Examples of School work were sent by request to the Philadelphia Art 
Alliance opening exhibit. This was entirely made up of craft-work, chiefly 
pottery and wrought-iron. Many offers of purchase were made, but the objects 
are more valuable to the School as products illustrating its purpose, being 
practically of a professional class: and to the Fourteenth Annual Competitive 
Exhibition for Art students, conducted by the Wanamaker Store — illustrations, 
designs, and craft-work, the latter subjects being included for the first time. 
Our pupils made about one hundred entries, and the following received prizes 
amounting to $180: E. Howard Suydam, Frances M. Lichten (3 awards), Eliza- 
beth Pilsbry, Hildegard Lupprian, Edward Ramsden, Dorothea Dallett, Noble 
F. Beacham, Filippo Bonaventura, Harry Rosin, Dorothy Finley. 

The jury on Metals, Mr. Wilson Eyre, Prof. William Gray and Mr. Hollings- 
worth Pearce, in awarding the first prize, $50, to Filippo Bonaventura, and 
second prize, $25, to Harry Rosin, made the following statement: 

"The jury have decided that the first prize, $50, should be awarded to 
Filippo Bonaventura for his group of wrought-iron work, which shows sincerity 
in design, fair craftmanship, and no affectation." 

Several illustrations exhibited by our students have been sold, and an 
important commission for a tull page magazine illustration placed as a result 
of the exhibit. 

The following gifts were made to the School : 

From Mrs. Henry S. Grove — a gown of silver and blue brocade for the 
Costume class. 

From Mrs. Albert B. Weimer — an Italian two-handled cup. 

From Mrs. Lewis J. Levick — a suit of Italian armor. 

From Mrs. Frederick W. W. Graham — a collection of foreign photographs 
of costumes and places. 

From Mr. Charles A. Voelker — a hooded pheasant. 

It is appropriate here to acknowledge an offer, which is annually made by 
the Society of New England Women, of $100, for the assistance of a woman 
student from New England, studying in the school. This offer has been made 
and fulfilled for several years, and has materially aided, each season, a deserving 


More applications for students to take positions have been received this 
session than ever before. These are for teachers of arts and crafts, manual 
training, drawing and design; special drafting in industrial establishments, 
aircraft and machine work. 

The Service Flag of the School was unfurled in November, its field con- 
taining sixty-two stars. Since then thirteen additional recruits have become 
entitled to a place upon it. These stars represent the art students who for the 
most part have volunteered, and are in various camps in America and "Some- 
where in France." Two are "flying" in Italy, and one is in Mesopotamia. All 
are in khaki or blue. Where possible the mothers of godmothers of the soldiers 
sewed the stars on the flag. 

Other boys are serving as draftsmen, and there are many draftswomen 
taking the places of men at the industrial plants, locomotive, shipbuilding and 
steel works, to do which the young women have remained away their final year 
in which they would have graduated, from a sense of duty to serve their country. 

It must not be inferred that these draftswomen do merely hand-service. 
Many of them carry out the problems from the designer's conception to the 
assembling of the machine, and supervise making the patterns; and in tile 
constructive work decide features of its practicality, while some are in charge of 
the drafting rooms. 

The classmates of the boys in camps sent Christmas boxes to them, both in 
this country and abroad. 

Many activities in connection with war conditions are fostered in the 
School in addition to work being done for the cause outside. 

From small sums regularly contributed by the students, about seventy-five 
dollars a month is sent to the Relief Association for the fund for the starving 
children of Belgium and Armenia. The Girls' Industrial Art League is pledged 
to give regular hours to the preparation of surgical dressings and bandages, 
under the direction of one of its trained members, and is fitting out with woolen 
articles the entire crew of Submarine C-2. 

The Alumni Association contributed a large collection of original pottery, 
furniture and metal work to the Red Cross Bazaar, by which several hundred 
dollars were realized; Italian fabrics and art objects, equally remunerative, 
were contributed to the Italian Relief Bazaar; and a series of Living Pictures of 
types of the Italian Renaissance was given every evening for a week at the 
School— the Associate Committee of Women acting as patronesses— for the 
benefit of the Anesthetics Fund, $700 being so obtained, with which a good 
many hundred pounds of ether and chloroform have been purchased and sent to 
hospitals in Italy. 




October — December, 1917 









Sandstone Head of Buddha, probably from the An- 
cient Province of Gandhara, India, from First to 
Eighth Century A. D 

2 French-Gothic Stone Capitals, Twelfth Century. . . . 

4 French-Gothic Stone Carvings, Fourteenth 





Given by Mr. Frank Samuel. 

Given by M. Paul Mallon. 
(■Lent by Mr. John D. Mcllhenny. 

1 ESS JESMESJS Ware: \ \ } *~* ^ «~ Hi — ^ Hi ^ 

Vegetable Dish, Blue and White Decoration, c. 1825 Given by Mr. George W. Purvis 

memory of his wife. 
Stanniferous Faience Tureen, Niderviller, France, 


Plate, Tournay Paste, Forged Sevres Mark 

Cup and Saucer, Mark of Sevres Soft Paste 

Cup and Saucer, Docia, Italy, 1770-1800 

Carved Vase, so-called Chinese Lowestoft, 

Eighteenth Century 

Pickle Dish, made by Robert Wilson, Hanley 

land, 1790-1800 

Creamware Salt Shaker, Liverpool, c. 1809. . . . 
Creamware Coffee Pot, Staffordshire, c. 1825. . 

Salt Glaze Dish, Staffordshire, c. 1780 

Sugar Bowl, made by Spode, Stoke-on-Trent, 

Nineteenth Century 

Steatite Paste Plate, Worcester, England, c. 1775 .... 

Deep Plate, Worcester, England, c. 1800 : 

2 Pitchers, made by Tucker Hemphill, Philadelphia, i 

c. 1832 | 

2 Pitchers, made bv William Ellis Tucker, Phila- . 

delphia. 1828 and 1830 

Loving Cup, Decorated with Portrait of William 

Perm, His Arms and First Residence 

Stoneware Jug, made by Negro Slave Potters in South 

Carolina, c. 1856 

Pitcher, Transfer Design 

Hispano-Moresco Plaque, Spain, Sixteenth Century. . . | 

2 Maiolica Tiles, Puebla, Mexico, c. 1700 

Delft Tile, Holland, Eighteenth Century 

Delft Dish, Staffordshire, c. 1760 

Slip Decorated Dish. England, c. 1800 

Transfer Design Plate, Liverpool, c. 1809 

Slip Decorated Jar, Eastern Pennsylvania, c. 1830. . 
Mould for Stoneware Ornaments, Hohr (Grenzhausen) 

Germany, Eighteenth Century 

20 Pieces of Korean Pottery, Kori Period, 1392 t Lent by Mr. Langdon Warner. 

Arm Chair, Decorated with Biblical Scenes in Colors, j 

Italian I Given by Mrs. Jacqueline Harrison 


Glass Plate, Pressed Decoration, Mexican Lent by Mrs. Hiram W. Hixon. 

Milknori Glass Fragments, Roman, First to Fifth 

Century A. D Given by Mr. Frank Samuel. 

Purchased from the Special Museum 

Emerald Pendant Set with Diamonds, Rubies and 

Pewter Candle Mould, Old American 

Lent by Mr. John W. Patten. 
Given by Dr. Charles D. Hart. 

18 Old American Silver Teaspoons Given by Mrs. Hampton L. Carson. 







Sampler, Cross-Stitched in Black, Yucatan 

Small Doll Dressed to Represent Queen Victoria 

21 Bead and Crocheted Bags and Purses 

Elaborately Embroidered Silk Skirt, Eighteenth 

Century Work 

Brown Silk Dress, American, 1836 

Certificate of Indenture for House Carpenter, Man- 

heim, Pa., 1803 

8 Pieces of Fractur Work, Pennsylvania-German, 


2 Filters, Wooden Frame with Porous Stone Filtering 

Bowl, Old American 

Earthenware Water Cooler, Old American 

500 Cameos Copied in Plaster from Ancient and 

Modern Precious Stones 

Collection of 14 Pieces of Chinese and Japanese 

Carvings, Bronzes, etc 


\ Given by Mrs. Hampton L. Carson. 
Lent by Mrs. Hampton L. Carson. 

Given by Miss Sarah E. Gearhart. 

Lent by Mr. Levi W. Mengel. 

Given by Mrs. William D. Frishmuth 

Given bv Dr. Charles D. Hart. 

Bequest of Mrs. Mary E. Taylor. 


The Trustees of the Pennsylvania Museum 
and School of Industrial Art desire the active 
co-operation of all public-spirited citizens 
who are known to be in sympathy with its 
educational work. All such persons are 
invited to become members. 


Patron Members in Perpetuity — Those 
who contribute the sum of $5000 or more 
whether in money or objects for the Museum. 

Fellowship Members in Perpetuity — Those 
who contribute $1000 at one time. 

Life Members — Those who contribute the 
sum of $100 or more at one time. 

Annual Members — Those who contribute 
not less than $10 yearly. 

The contributions received from Patrons 
($5000), and from Life Members ($100), are 
added to the permanent Endowment Fund. 
Contributions from Annual Members ($10) 
are used to the best advantage in the develop- 
ment of the Museum and the School. 


All members are entitled to the following 

The right to vote and transact business 
at the Annual Meeting. 

Invitations to all general receptions and 
exhibitions held at the Museum and the 

Free access to the Museum and School 
Libraries and admission to all lectures. 

Also a copy of each of the following pub- 

The Annual Report of the Corporation. 

The Annual Circulars of the School of 
Applied Art and the Philadelphia Textile 

The Art Handbooks and Art Primers, 
issued from time to time by the Museum 
(a printed list of publications will be mailed 
to any member on application). 

The Illustrated Quarterly Bclietin of the 

A list of members is published each year 
in the Annual Report. 

Applications for membership, and remit- 
tances should be sent to the Secretary, 
P. M. & S. I. A., 320 South Broad Street, 
Philadelphia, Pa. 


The Museum is open, free to the public, 
every day in the year. 
Opening Hours: 
Mondays at 12 M. 
Other Week Days at 9.30 A. M. 
Sundays at 1 P. M. 
Closing Hours: 

During the summer months, 5 P. M. 

(Sundays, 6 P. M.) 
During the winter months, a half hour 
before sunset. 


(On sale at the South Entrance) 

Handbook of the Museum $0. 25 

A Brief History of the Bayeux Tapestry . 10 
Cork Models of Windsor Castle, Tower 
of London, Westminster Abbey, 

Church of St. Peter, Rome .10 

The Great Seals of England 25 

Handbook of the Collection of Tulip 
Ware of the Pennsylvania-German 

Paper cover 1 . 00 

Large paper edition, Cloth 5 . 00 

Handbook of the Maiolica of Mexico: 

Paper cover 1 . 00 

Flexible Art Canvas 2 . 00 

Art Primer No. 3, Lead Glazed Pottery .50 
Art Primer No. 5, Tin Enameled Pot- 
tery 50 

Art Primer No. 6, Salt Glazed Stone- 
ware 50 

Art Primer No. 9, Hard Paste Porce- 
lain 50 

Art Primer No. 11, Artificial Soft Paste 

Porcelain 50 

Bulletin of the Pennsylvania Museum 

(quarterly), per annum 1 . 00 

Catalogue of Tiles 25 

Catalogue of Fakes and Reproductions .25 

Friends of the Institution who desire 
to devise to it money should use the fol- 

Form of Bequest 

I give and bequeath unto the Pennsyl- 
vania Museum and School of Industrial Art 

the sum of dollars 

for the use of the said Corporation. 


Form of Devise of Real Estate 

I give and devise unto the Pennsylvania 
Museum and School of Industrial Art, its 
successors and assigns, all that certain (here 
insert a description of the property) for the 
use of the said Corporation. 






John D. McIlhenny, Chairman 
Thomas Skelton Harrison 
John Story Jenks 
Gustav Ketterer 
John H. McPadden 
John W. Pepper 

Mrs. Rudolph Blankenburg, Bx-Officio 

Edgar V. Seeler 
Mrs. W. T. Carter 
Mrs. W. D. Frishmuth 
Mrs. John Harrison 
Mrs. Edward T. Stotesburi 

Mrs. Cornelius Stevenson, Sc.D., Assistant Curator and Lecturer 


Textiles, Lace and Embroidery . 
Oriental Pottery ... 
European Porcelain . 

Arms and Armor 

Furniture and Woodwork 

Musical Instruments . 


Sculpture, Marbles and Casts . . 

.Mrs. John Harrison 
.Mrs. Jones Wisthr 
.Rev. Alfred Duane Pei 
.Cornelius Stevenson 
.Gustav Ketterer 
.Mrs. W. D. Frishmuth 
.F. D. Langenheim 
.Alexander Stirling Calder 

instruction COMMITTER 

Theodore C. Search, Chairman 
Charles Bond 
Mrs. John Harrison 
Thomas Skelton Harrison 
John Story Jenks 
John D. McIlhenny 
Edgar V. Seeler 
Tames F. Sullivan 
William Wood 

Mrs. Rudolph Blankenburg, 

Mrs. F. K. Hipple 
Miss Nina Lea 
Mrs. Arthur V. Meigs 
Mrs. Thomas Robi :b 
Mrs. Joseph f 
Mrs. C. Shillard Smith 
Mrs. John Wister 
Mrs. Jones Wi! 



Mrs. Rudolph Blankenburg 



Vint Vice-President 

Miss Nina Lba 


Mrs. Henry S. Grove 

Edwin Swift Balch Mrs. 

Jasper Yeates Brinton Mrs. 

John H. Brinton Miss 

William T. Carter Mrs. 

Margaret Clyde Mrs. 

Henry Brinton Coxe Mrs. 

Ada M. Crozer Mrs. 

David E. Dallam Mrs. 

Cornelia L. Ewing Mrs. 
George Harrison Frazier Mrs. 

W. D. Frishmuth Mrs. 

Second Vice-President 

Countess Santa Eulalia 


Mrs. Joseph F. Sinnott 

W. W. Gibbs 
John Harrison 
M. S. Hinchman 
F. K. Hipple 
J. L. Ketterlinus 
Robert R. Logan 
Howard Longstreth 
Arthur V. Meigs 
James Mifflin 
Francis F. Milnb 
Thornton Oaklby 

Mrs. Francis T. Patterson 
Mrs. Percival Roberts, Jr. 
Mrs. Thomas Roberts 
Miss Mary E. Sinnott 
Mrs. C. Shillard Smith 
Mrs. Cornelius Stevenson 
Mrs. Edward T. Stotesbury 
Mrs. William H. Walbaum 
Mrs. A. B. Wbimer 
Mrs. John Wister 
Mrs. Jonbs Wister 


Mrs. M. Hampton Todd